When renowned film director Péter Gárdos wrote the story, he intended it as a film script, but eventually he made it into a novel. “Fever at Dawn,” the love story of two Holocaust survivors―the author’s parents―has ever since sold in more than 20 territories.
Zsigmond Móricz's Gold in the Mud is a novel that does things with words; it is a novel which deploys an inexorable naturalism and a typifying exaggeration of its characters to express a clear message – serfdom is paralyzing for the aspirational and all-devouring for the ordinary.
"There are some who love like the hare lost on the motorway, entrapped in spotlights. / There are some who love like the lion that tears apart what it desires. / There are some who love like the pilot loves the town on which he drops his bombs. / There are some who love like the radar that directs planes in the air."
After a certain number of performances, a production takes on a life of its own, and the critic is unable to review it as an isolated night of entertainment. It has become a continuum, an institution, evolving over time as a living creature would. Such is the case with Zoltán Egressy's two plays.